小野川直樹

*English follows Japanese

物語 2020/01/17

『平和のために折り鶴を折る』という事に違和感を抱いたのは、最近のことではありません。

よく「折り鶴は平和の象徴」と耳にします。戦後、折り鶴は広島や長崎に送られていますが、毎年何トンという 膨大な量が届くのだそうです。彷徨っている気持ちの吐き場所であり、その繰り返されている惰性の様なものに違 和感を感じるのです。平和を願う気持ちというものはとても尊重しています。しかし、そこには自分と折り鶴とを
繋ぐものや、自分の考える折り鶴の「居場所」というものは、ありませんでした。

幼少期の頃に熱中した折り紙。その中でも特に有名な伝承折り紙の一つである「折り鶴」。そこに自分の軸にな るものと共に、「なにか」があると感じています。

2011 年に東北で震災がありました。翌年の 4 月に岩手県陸前高田へと赴き、現地の方の話を聞き、実際に町を 見て回りました。自然の驚異の前では人間は何もできないのだと恐ろしく、また、その中で輝く生命の力強さも受 けました。いつの時代も、人種も性別も社会的地位も関係なく襲ってくる自然の脅威と向き合い、しかし時にあや かり、共存しているのだと改めて感じます。そしてその体験は同時に、いまを生きている、ということをハッキリ と意識させられる様です。
その様な中で、津波に流された校舎の瓦礫脇に置かれた千羽鶴を見て、ハッとしました。 それまでの折り鶴に纏わりつく、平和と戦争とは何の関わりもない場所に存在する折り鶴に対して、なぜか腑に落 ちてしまったからです。それはまるで行き場のない気持ちを折り鶴に託し、この世ではない場所を行き来するよう にと祈りを込めた孤独な儀式の様でした。うまく言葉では表現できませんが、今、折り上げている折り鶴はそうい った厳かな「祈り」からきているものなのかもしれません。またその様な事柄を作品に落とし込むことで、折り鶴 の「居場所」を創り上げています。
改めて見つめ直してみると、折り鶴はどこか尊く、また神秘的な「なにか」がひそんでいる様に感じます。そして、 それはまた、私の信じている「美しさ」でもありました。

ひとりひとりが自分なりの「折り鶴」との歴史を持っているかと思います。どの様に感じてどの様に思いを重ね るかは人それぞれですが、作品との対話を通し、心を揺さぶる「なにか」が生まれることを願っています。

 

My Journey with Origami Cranes

In my youth, particularly in elementary school, I was obsessed with origami, the Japanese art of paper-folding; I liked them to the extent that I made dinosaur dioramas out of origami during the arts-and-crafts time I had during summer vacation. Upon graduating from high school and going to art school, I awoke to the desire to embody what defines me into the form of art. After self-reflection, I realized that origami is a core element of who I am; and among the variants of origami, I selected origami cranes as my central mode of expression. The choice was one I made intuitively – I felt some potential within the cranes at some level. That sentiment is one that remains with me to this day.

The Great East Japan Earthquake took place when I was enrolled in school, and it was in that summer of 2011 that I first made a work of art utilizing origami cranes. A half-year later, I created the “Tsuru no Ki” (Crane Tree) as my graduation piece: a culmination of my school efforts. What I knew of the earthquake were derived from the tremors I felt in Tokyo and the information I had gained from media coverage at the time. In crafting something, one moves in hopes of manifesting an idea into reality; and seeing as origami cranes function as a piece of my identity, it was with them that I began the process of creation. The following year, in April, I made my way to the city of Rikuzentakata in Iwate Prefecture in Northeastern Japan, which had suffered much during the earthquake. There, I talked with the locals and had the chance to go around and see the town for myself. What I felt there was awe, and terror, at our inability as human beings to resist against the overwhelming powers of nature; calamities encroach upon us all, regardless of our race, gender, or societal standing. No matter the era, the forces of nature serve as a threat to us. But at times, they serve as a catalyst as well – I was reminded once again that we live in co-existence with one another, and I felt and saw for myself the strength of the human spirit.

One often hears origami cranes described as a symbol of peace. In looking at the debris and wreckage found within Rikuzentakata, I saw a mass of origami cranes placed around the entrance of a building. Their creators appeared to have manifested their feelings – notions that lacked a mode of expression – into the cranes themselves. Following the second World War, origami cranes were sent to the atomic bomb sites in Hiroshima and Nagasaki; every year following the disaster, massive amounts – several tons – of the cranes were delivered to each city. They function as a way for us to channel emotions that feel uncertain, ones that we have no idea what to do with – into a vessel. And as a matter of habit, we repeat the process of doing something to distract ourselves from such feelings; but I feel an incongruity with that fact. Could it be that origami cranes function not as a symbol of peace, but of prayer? I say so because the cranes serve as vessels: ones laden with wishes and desires. They do not function solely for peace; they sooth the spirit, and help one get a sense of our surroundings and our own situations. There is no absolute answer or truth. It is all about how the individual thinks about the situation and how they will come to terms with it. The origami crane you might find on any given day can teach you that: or it may serve as the catalyst for you to discover those truths for yourself.

We are able to channel our thoughts, our spirit, along with sentiments and situations where we attempt to perceive the imperceptible, into them; we come to rely on such things for support. I encapsulate these peculiar, obscure conceptions into the origami crane when I go about my work. This is one of the possibilities that I see within the origami crane.

When hands from this generation craft pieces laden with notions from the distant past, transcending time, they give way to a discourse between the viewer and the subject of observation. And it is through this process that notions – whatever they may be – come to life and move the heart. It is my hope that I am able to embody notions – ones inexpressible – through my works, and that the viewer is able to resonate with them.

経歴

【Solo Exhibitions】
2016.11/1-27 「これまでとこれから」 そごう西武渋谷店 B館8階美術画廊 オルタナティブスペース
2017.6/7-8/1 「彩」 日本橋高島屋 2階 アートアベニュー

【Public works】
2017 「The Art of J」 JAL 海外向けキャンペーン webムービー 「Privacy」
2017 「Infini Love」 周生生 Chow Sang Sang Juelly webムービー
2017 「CHRISTIE'S Magazine」 Yusuke Maezawa : The record-breaking art collector
2018 「Journey to the World of HOKUSAI」 - The Art of J - NewYork, Grand Central Terminal
2018 「MIMARU 水天宮前」 アパートメントホテル MIMARU 水天宮前 エントランスにて常設展示「暁」
2018「Princess Cruise」『The Secret Silk』日本初演記念 「Ao」2018